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Two young boxers band together with a benevolent moneylender to take down a ruthless loan shark who preys on the financially desperate.
First episode date: June 9, 2023 (South Korea)
Genres: Action, Crime film
Language: Korean
Written by: Jason Kim
Network: Netflix
Based on: Bloodhounds; by Jeong Chan; (WEBTOON)
Bloodhounds Trailer
Blood Review
Bloodhounds is based on Jeong Chan’s web comic, Sanyanggaedeul. Set in the pandemic, this Korean action-drama-thriller series packs a punch as it fuses multiple elements to tell a credible, engaging tale. It follows two spirited amateur boxers from the big city who venture into the dangerous world of debt-collection. Power, corruption, violence, honour, respect and friendship, there’s a lot to be had in this 8-episode first season. The large cast and parallel storylines may seem like Jason Kim has stretched himself too thin, but that is not the case. Bloodhounds builds in classic slow burn fashion, pulling you deeper into the morass. At its heart, this one is an age-old good versus evil narrative. The writing places value on moral fibre and integrity in a world bereft of conscience. Lead character Kim Geon-woo (Woo Do-hwan) epitomises this to a fault. Sincere, principled and kind, this talented pugilist is the protector of all that is good. And even though his reactions have a tendency to come off as naïve every once in a while, Woo Do-hwan plays the character so deftly that you’re convinced such people do, in fact, exist. Complementing him in this winding tale of ruthless loan sharks, greed and power, is Hong Woo-jin (Lee Sang-yi). Another spirited fellow boxer, the two first cross paths in the ring. A defeat in competition at the hands of the former leads to an unusual friendship. More in touch with the real world around him, Woo-jin loves to tell jokes, talk big and banter.
Creator – Jason Kim (Kim Joo-hwan)
Cast – Woo Do-hwan, Lee Sang-yi, Huh Joon-ho, Park Sung-woong, Kim Sae-ron, Choi Si-won, Choi Young-joon
Streaming On – Netflix
When a prime piece of real estate needs bailing out, Kim Myeong-gil (Park Sung-woong), the CEO of Smile Capital steps in. Much to the surprise of the influential members present at the clandestine meeting, Myeong-gil offers to put the money down and save the building. Don’t be fooled by the calm demeanour, sharp suit and ironic smile. He’s as dangerous as they come. A power-hungry loan shark obsessed with control, his business is just a front for his illegal debt-collecting operations. The man’s foot soldiers are tasked with stealing IDs of homeless people, only to use the said information to form shell corporations and dupe private loan sharks into parting with large sums of money. His company also specialises in preying on old small business owners with their fraudulent financial schemes. When Geon-woo’s mother, the proprietor of a little café, falls for Smile Capital’s ruse of a low-interest loan, things begin going downhill. It’s left to Geon-woo and Woo-jin to save the day, but their endless list of troubles is just getting started. Meanwhile, veteran loan shark turned benevolent benefactor, Choi Tae-ho (Huh Joon-ho), offers zero-interest loans to poor citizens with serious health conditions. The wealthy patriarch’s mission is to undo past wrongs and live an honourable existence by helping those in need. But that’s the thing about changing your ways for the good…no matter how hard you try, you can never sever ties with that old life, altogether.
There are a series of factors that make Bloodhounds an interesting show. Its strong moral compass, for starters. No one exemplifies this better than Woo Do-hwan’s Geon-woo. Even in instances where he’s forced to use his fists, his ethics do not waver. There’s a brutal scene in which Smile Capital’s main henchman is being taken down by the boxing duo, and yet, once the man is neutralised, Geon-woo insists that he be given immediate medical attention (leaving him to die would be wrong). The show trains its lens on the eternal battle between darkness and light. It may appear in a rather simplistic manner on screen but there’s no denying it’s there. Geon-woo worries he’s turning into a bloodhound; this existential questioning makes you wonder about the show’s deeper intentions. Geon-woo’s walking-the-talk attitude inspires not just his best friend but a veteran old-timer who’s seen and done it all. There is some criticism worth noting, of course. The first is how the primary antagonist is sketched. Kim Myeong-gil exudes appropriate dread in a collected sort of way. This “not knowing when he might explode” is encapsulated brilliantly in a sequence early on, when an influential Govt and police official come over for drinks. They insist that the cards be laid on the table. And this can only be done by downing copious amounts of alcohol. Kim Myeong-gil is peer-pressured into gulping glass upon glass. The liquor is just a front to humiliate and expose the man. Kim Myeong-gil barely utters a word and smiles sardonically, but it’s his eyes that betray the sheer extent of his megalomania. While this makes an impression, his character isn’t nuanced enough for a villain of stature. The backstory reveals the reasons for his predisposition, but how about making him less predictable and more multidimensional. Though the combat choreography is quite fantastic, there are several parts that are exaggerated beyond belief. The deserted underground metro station scene (the two young men and Cha Hyun-joo against thirty armed thugs) is the most ludicrous of them all. Also, where the heck is the police force? Routine murders and beatings are being carried out in public view but the Seoul police is AWOL. They make a long overdue appearance at the end when the list of dead and disappeared has skyrocketed. The abrupt culmination of Cha Hyun-joo’s character arc is baffling; she leaves never to return, sending a cryptic letter explaining her circumstances. I did expect some resolution here but received none.
Criticism apart, there are innumerable aspects that work in the story’s favour. The banter between the leads, is one such. Woo-jin is Bloodhounds’ endearing comic relief. Whether it’s his obsession for the marines or his hilarious exchange with Cha Hyun-joo about the telepathic understanding between boxers, actor Lee Sang-yi sure makes us laugh. He plays the perfect foil to Woo Do-hwan’s consummate earnestness. Food, and the sense of community that develops over that essential aspect of existence, is another skilful play by the writers. Conversations happen over grilled pork belly and rolled omelettes, capturing in the process a meal’s importance in the South Asian family setup. Jokes are made between the friends about rib-eye steak and Korean barbeque, and who’s treating. In an intense series of unbridled violence, we seldom see such interesting additions.
All in all, Bloodhounds has a lot to offer through its tale of vengeance and loyalty. It may have its demerits but there is no denying that the writing, direction and acting give the script wings. The exploration of light, darkness, good, evil and redemption is a highlight.
Why the lead female character role ended abruptly in Bloodhounds
viewers may have noticed the sudden departure of Kim Sae Ron’s character, Hyun ju, in Bloodhound. This decision was necessitated by a real-life incident involving the Korean actress. Last year in May, Kim Sae Ron was involved in a drink and drive case and was subsequently found guilty. Although most of the shooting for the series had already been completed, the makers made the choice to retain her sequences in the show for as long as it was feasible.
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